The Price Guide to the Occult: A Review

“Any decent human being, witch or otherwise, has the capacity to do good in this world. It’s merely a case of whether one chooses to do so.”

cover art for The Price Guide to the Occult by Leslye WaltonMore than a hundred years ago Rona Blackburn arrived on Anathema Island with little more than her dogs and her magic. She built a home for herself and made a place on the island but even then the original eight settlers viewed Rona with fear and, eventually, with enough hate to try and burn her out of her home.

Rona survived. Determined to see the original eight and their descendants suffer she bound herself and her line to the island. But in casting her curse Rona inextricably tied daughters down the Blackburn line not just to the island but to the original eight families as well.

In the present all Nor wants to do is keep her head down, her unexceptional powers under control, and her love life nonexistent and untethered to any of the original eight families.

But when a strange price guide to the occult appears at her part time job Nor knows that the time for hiding is almost over in The Price Guide to the Occult (2018) by Leslye Walton.

The Price Guide to the Occult is Walton’s sophomore novel.

Written in close third person this novel, much like its heroine, keeps readers at a remove even as they are drawn deeper into the mysteries and intrigue that surround Anathema Island and its founding families. Each chapter is named for a spell and features an epigraphy from Rona Blackburn’s writings on witchcraft and magic.

Circuitous writing and lush descriptions bring Anathema Island and its magic to life especially as things begin to change when the Price Guide surfaces. Walton deftly builds a world where magic feels both plausible and inevitable with subtle twists on everyday moments that bring Nor’s world startling close to our own.

Nor is a cautious girl, if not by nature then through painfully learned lessons. Self-harm is a thread throughout The Price Guide to the Occult as Nor struggles with knowing that she can’t return to self-harm while wishing for a solution that could seem as simple as cutting herself once did.* She watches with growing horror as her home, the rest of the island, and beyond fall threat to dangerous magic being performed at a great cost.

This story is equal parts sexy and gritty as Nor experiences the elation of young love with an unlikely boy while searching for the source of the Price Guide and its magic that is slowly ruining the island and everything Nor loves. The novel, and the island itself, features a deliberately inclusive cast notably including Nor’s grandmother and her longterm partner Apothia Wu.

The Price Guide to the Occult is an unexpected and fascinating story that only begins to reveal the secrets surrounding Anathema Island and its founding families. Ideal for readers looking for a twisting fantasy whose memory will linger long after the book is closed. Recommended.

*Resources for readers who have struggled with self-harm themselves can be found in a note at the end of the novel.

Possible Pairings: Spellbook of the Lost and Found by Moïra Fowley-Doyle, Practical Magic by Alice Hoffman, Salt and Storm by Kendall Kulper, Sender Unknown by Sallie Lowenstein, Wild Beauty by Anna-Marie McLemore, Born Wicked by Jessica Spotswood, The Raven Boys by Maggie Stiefvater

*An advance copy of this title was provided by the publisher for review consideration*

Be sure to check out my exclusive interview with Leslye about The Price Guide to the Occult too!

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The Hazel Wood: A Review

“You’re a story, but that doesn’t make you any less true.”

Alice Proserpine has always known that her mother, Ella, was raised on fairy tales amidst the cult-like fandom surrounding the release of “Tales from the Hinterland” a collection of grim fairy tales that, in the 1980s, briefly made Alice’s grandmother Althea Proserpine a celebrity. Alice doesn’t grow up like that. Instead of fairy tales, Alice has highways as she and Ella constantly move around hoping to outrun their eerie bad luck for good–something that seems much more likely when they learn that Althea has died alone on her estate, The Hazel Wood.

Unfortunately just like in “Tales from the Hinterland” everything isn’t as it seems and soon after Alice’s mother is kidnapped leaving no clue except to warn Alice to stay away from the Hazel Wood. With no other clear path to finding her mother, Alice reluctantly enlists her classmate and not-so-secret Hinterland fan Ellery Finch, who may or may not have ulterior motives for helping, to share his expertise on the fairy tales. The path to the Hazel Wood leads Alice straight into the story of her family’s mysterious past and the moment when her own story will change forever in The Hazel Wood (2018) by Melissa Albert.

Albert’s standalone fantasy debut has a narration in the vein of a world weary noir detective who happens to be a teenage girl named Alice. Resourceful, whip smart, and incredibly impulsive Alice also struggles with her barely contained rage throughout the novel as circumstances spiral out of her control. Alice’s singular personality largely excuses the lack of context for much of her knowledge and cultural references which hearken more to a jaded adult than a modern teen.

The lilting structure and deliberate tone of The Hazel Wood immediately bring to mind fairy tales both new and retold while also hinting at the teeth this story will bear in the form of murder, mayhem, and violence both in the Hinterland tales and in Alice’s reality. An aggressive lack of romance and characters transcending their plots make this story an empowering read that will be especially popular with fans of fairy tale retellings.

Possible Pairings: The Language of Thorns by Leigh Bardugo, The Eyre Affair by Jasper Fforde, Fire and Hemlock by Diana Wynne Jones, Sender Unknown by Sallie Lowenstein, Every Heart a Doorway by Seanan McGuire, Vassa in the Night by Sarah Porter, Miss Peregrine’s Home for Peculiar Children by Ransom Riggs, An Enchantment of Ravens by Margaret Rogerson, The Raven Boys by Maggie Stiefvater

*A more condensed version of this review appeared as a starred review in the October 2017 issue of School Library Journal*

The Cruel Prince: A Review

“True power isn’t granted. True power can’t be taken away.”

cover art for The Cruel Prince by Holly BlackTen years ago Jude’s parents were murdered and she and her sisters were stolen away to the High Court of Faerie. Life at Court is a constant nightmare full of treachery and danger–especially for mortal children like Jude and her twin sister, Taryn.

Raised among the fey, Jude is painfully aware that she is not one of them the way her older sister, Vivi, is with her furred ears and cat eyes. She knows better than to fall for the seductive beauties of the fey or to ever believe they can see her as an equal. But that doesn’t stop her from striving for that recognition and approval, always grasping for that means of protection.

Drawn into a web of intrigue and deceptions, Jude finds her chance to make a place at Court while moving herself into the center of violence that threatens to break the Faerie Courts apart. Raised on strategy and brutality, Jude can see a way out of the conflict but only if she aligns with the person she hates most–Cardan, the youngest son of the High King and the one member of Court determined to make sure she never forgets her mortality. Jude and Cardan have spent years circling each other, hating each other, but it’s only as they begin to work together toward a common goal that they begin to understand each other in The Cruel Prince(2018) by Holly Black.

The Cruel Prince is the start of Black’s new trilogy, The Folk of the Air. Set in the same world as her other faerie novels it also references back in small ways to her Modern Faerie Tales series and The Darkest Part of the Forest.

Jude’s first person narration is pragmatic to the point of being fatalistic even while adopting the lilting cadence of the faerie creatures who surround her. Jude has no illusions about her place in the hierarchy of the High Court or her expendability. While Vivi tolerates living among the fey and Taryn sees the beauties amongst the dangers, all Jude sees is the savagery. She knows that her only chance to survive and find her place among the fey is through power–a strategy she has learned all too well from her adopted father, Madoc. Madoc, a violent redcap, also murdered Jude’s real parents leaving Jude uncertain of her footing even in her own family.

Every victory Jude has earned down below with the faeries is hard won; every lesson painfully learned. Thanks to her repeated encounters with Cardan, Jude is especially well-versed in hate. She hates Cardan beyond all reason and he hates her nearly as much. But as fans of the classic film Gilda know all too well, hate can be a very exciting emotion and Jude and Cardan’s interactions practically sizzle as a result–even while they are doing everything they can to destroy each other.

Everything in The Cruel Prince is very artfully done. Jude’s story is about politics, intrigue, and fear—particularly being afraid but charging ahead anyway. Because there is no other option. Intricate plotting and a restrained narration make for a very clever conclusion as quite a few of Jude’s cards are laid on the table only to raise more questions for what will happen next in the series.

For Jude there are no good choices. Similarly, it’s hard to say if there are any good people among the High Court. Thanks to the strength of Black’s writing, that hardly matters. It takes real skill to take the villain of the story and make him not just sympathetic but precious. It takes as much work to have a first person narrator who is ruthlessly cold and calculating while also being devastatingly human and compassionate. The Cruel Prince is a must read for faerie enthusiasts, high fantasy connoisseurs, and especially for anyone looking for a book filled with twists that will leave them breathless. Highly recommended.

Possible Pairings: Legendary by Stephanie Garber, Fire and Hemlock by Diana Wynne Jones, Winterspell by Claire Legrand, The Perilous Gard by Elizabeth Marie Pope, The Diabolic by S. J. Kincaid, An Enchantment of Ravens by Margaret Rogerson, Bring Me Their Hearts by Sara Wolf, Places No One Knows by Brenna Yovanoff, Dust Girl by Sarah Zettel

*An advance copy of this title was provided by the publisher for review consideration at BEA 2017*

Girls Made of Snow and Glass: A Chick Lit Wednesday Review

“If you’re delicate, it means no one has tried to break you.”

Mina is sixteen years old when she comes to Whitespring. Her mother is dead and she sees few options for a future. When Mina learns that her father, a dangerous magician, has replaced her own weak heart with one made of glass she realizes that even the prospect of love is impossible. What Mina does have is beauty. And a secret. She hopes to be able to use both to stay clear of her father and win the king. For if the king and his kingdom fall for her beauty, surely they will be able to love her even if her glass heart makes her incapable of returning the feeling.

Lynet has always looked like her mother–a resemblance that is even more striking now that her sixteenth birthday is approaching–but her personality could not be more different. Lynet does not want to be beautiful or delicate like her dead mother. She wants to be strong and fearless like her stepmother Mina. When Lynet learns the truth, that a magician made her out of snow in her mother’s image, it feels like her destiny will never be hers to control.

When the king names Lynet queen of the southern territories instead of Mina, a rivalry forms between them. As previously unbreakable bonds are tested and friends threaten to become enemies both Mina and Lynet will have to decide if they are capable of transcending their beginnings to forge a new future in Girls Made of Snow and Glass (2017) by Melissa Bashardoust.

In her debut novel Bashardoust offers a feminist retelling of the fairy tale of Snow White with a focus, of course, on the relationship between daughter and step-daughter. The novel alternates between close third person chapters detailing Lynet’s present struggles to claim her own fate as her birthday approaches with Mina’s past and her early days in Whitespring.

Bashardoust’s writing is methodical with a slow start to draw readers into the story and introduce both Lynet and Mina. Instead of relying on familiar tropes and stereotypes, both Lynet and Mina are well-developed characters with complicated motivations and conflicting feelings. Both women are ambitious and see the crown as a way to take control of their own lives. But what does that ambition mean compared to years spent as a family? After all, there can only be one queen.

This fledgling rivalry forms the majority of the plot while explorations of magic, their own strange beginnings, and what it means to love help to flesh out the story. Lynet’s infatuation and eventual relationship with the new palace surgeon–a woman named Nadia–adds another dimension to the story.

While the characters and plot are handled well, the overall world building is lackluster. While readers see much of the palace, the rest of Whitespring is unexplored within the text. The magic system is poorly explained with only vague explanations for how Mina and Lynet can live. The curse that shrouds Whitespring in winter year round is equally vague.

Girls Made of Snow and Glass is a thoughtful and thoroughly feminist fairy tale. Recommended for fans of retellings and readers who prefer character-driven novels.

Possible Pairings: The Hazel Wood by Melissa Albert, The Language of Thorns by Leigh Bardugo, Three Dark Crowns by Kendare Blake, Frostblood by Elly Blake, Roar by Cora Carmack, Graceling by Kristin Cashore, Ash by Malinda Lo, The Young Elites by Marie Lu, The Orphan Queen by Jodi Meadows, Snow Like Ashes by Sarah Raasch, Maleficent

Saint Death: A Review

“Each of us dies the death he is looking for.”

“Don’t worry where you’re going, you’ll die where you have to.”

Saint Death by Marcus SedgwickArturo is scraping by living in Anapra on the outskirts of Juarez, Mexico. He can see El Norte from his small shack but America feels distant compared to his reality spent hauling things at the auto shop and trying to avoid the notice of gang members and the cartel who have carved Juarez into their own sections of territory.

Arturo’s childhood friend Faustino reenters his life preparing to use stolen money to send his girlfriend and their son illegally across the border. With his gang boss on the verge of discovering the theft, Faustino is desperate for help to replace the thousand dollars he has taken. Arturo reluctantly agrees to try to win the money playing Calavera but as with most card games, things don’t go according to plan.

Looming over Arturo’s story, and Juarez itself, is Santa Muerte–Saint Death. The folk saint watches impassively as people in the border town struggle in the face of a vicious drug trade, dangerous trafficking, corruption, and income inequality. It’s possible that Santa Muerte might help Arturo if he prays hard enough and proves himself. But it’s also possible she’ll watch as Arturo heads toward his tragic ending. The outcome doesn’t really matter, everyone comes to her in the end in Saint Death (2017) by Marcus Sedgwick.

To call Saint Death ambitious would be a gross understatement. This slim novel complicates a deceptively simple story about one young man and uses it as a lens to examine the world on a much larger scale.

Arturo’s story, as related by an omniscient third person narrator, alternates with commentary from nameless third parties on conditions affecting Mexico and Juarez specifically including The North American Free Trade Agreement (NAFTA), climate change, the city’s founding, and even the worship of Saint Death herself.

The formatting and language Saint Death underscore that this is a book about Mexican characters who live their lives in Spanish. There are no italics for Spanish words and dialogue is formatted according to Spanish language conventions with double punctuation for question marks and exclamation points (one at either end of the sentence) and no quotation marks for dialogue which is instead indicated with dashes.

Saint Death is simultaneously an absorbing, heart-wrenching read and a scathing indictment of the conditions that have allowed the drug trade and human trafficking to flourish in Mexico. Eerily timely and prescient this ambitious story is both a masterful piece of literature and a cautionary tale. Add this to your must-read list now. Highly recommended.

If you want to know more about some of what’s mentioned in the book and a bit about Sedgwick’s writing process, be sure to check out his blog posts about the book as well.

Possible Pairings: The Vanishing Season by Jodi Lynn Anderson, The Game of Love and Death by Martha Brockenbrough,The Accident Season by Moïra Fowley-Doyle,The Careful Undressing of Love by Corey Ann Haydu, We Were Liars by E. Lockhart, Bone Gap by Laura Ruby, American Street by Ibi Zoboi, The Book Thief by Markus Zusak

*A more condensed version of this review appeared in the March 2017 issue of School Library Journal as a starred review*

Stealing Snow: A Review

Stealing Snow by Danielle PaigeSnow has spent most of her like behind the walls of the Whittaker Institute. The high security asylum is meant to help rehabilitate troubled patients, like Snow, let go of their delusions.

But Snow doesn’t think she’s crazy. Not really.

Being near Bale makes like at the Institute bearable. At least until Bale claims he can see what Snow really is when they kiss. And breaks her hand in two places.

When mysterious hands grab Bale and pull him through a mirror, Snow knows that she has to follow. A voice in her dreams tells Snow exactly what to do in order to escape. Following the voices directions, Snow makes it outside and finds herself in the wintry world of Algid.

Snow soon learns that Algid is her true home and her father is determined to do everything he can to hold onto the throne–and keep Snow far away from it. As magic, mayhem, and trickery collide, Snow will have to decide who she can trust if she wants to rescue Bale and make it out of Algid alive in Stealing Snow (2016) by Danielle Paige.

Stealing Snow is the start of Paige’s new series which is a dark retelling of The Snow Queen.

Paige goes for a darker tone right from the start with Snow residing in an asylum that seems to come straight from the pages of One Flew Over the Cuckoo’s Nest. While this setting offers a gripping backdrop for the opening of the story, it also often defies logic as readers realize Snow has been at the Institute since she was a child (and is, in fact, still only seventeen suggesting there should have been at least some type of schoolwork or high school equivalency studies).

The story picks up considerably when Snow actually arrives in Algid and more of the novel’s characters are introduced. Snow finds a veritable band of misfits as she makes her way through Algid trying to find her father, the Snow King, and rescue her love Bale.

Along the way Snow encounters numerous love interests, her own snow magic, and vast conspiracies that stretch between Algid and our world. While this series opener raises many questions about Snow, her family, and Algid, readers will have to wait for future installments for most of the answers.

Stealing Snow is a fast-paced adventure with a sharp-tongued narrator who isn’t afraid to be ruthless. Paige takes some of the familiar elements of The Snow Queen and shakes them up with an inventive reimagining of the this fairy tale and the frighteningly evocative world of Algid. Recommended for readers looking for a new fairytale retelling that is extra dark.

Possible Pairings: Splintered by A. G. Howard, Princess of Thorns by Stacey Jay, Reign of Shadows by Sophie Jordan, Winterspell by Claire Legrand, Cinder by Marissa Meyer, Snow Like Ashes by Sara Raasch, Ruined by Amy Tintera

*An advance copy of this title was provided by the publisher for review consideration*

The Graces: A Review

The Graces by Laure EveEveryone says that the Graces are witches.

Thalia might dress the part with her spangly skirts and scarves, and Fenrin might bewitch all the girls in town with his good looks and charm. But Summer, the youngest Grace, is the only one willing to admit that she is exactly what everyone in town whispers.

Everyone wants to get close to the Graces. Everyone knows how much it must hurt to lose their interest. Because everyone, inevitably, loses the Graces’ interest.

River is new in town and desperate to attach herself to the Graces. She’s in love with Fenrin, like everyone, even though it’s a cliche. She hopes that seeing into their strange world might understand some of what’s been happening to her. But first River has to become one of the Graces. And she’s will to do whatever it takes to get their attention in The Graces (2016) by Laure Eve.

The Graces is Eve’s first novel and the start of a series.

Eve builds tension early with a narrator who remains nameless for the first part of the novel. Readers know that River arrived in town under a cloud, forced to move for reasons she will not divulge. River sees herself as different and other–just like the Graces themselves–and her narration is suitably calculating and cold.

While The Graces is atmospheric, the beginning remains slow with River carefully circling the Grace siblings as she tries to break into their orbit. The push and pull between what is true and what is not works well with the interplay between magic and reality throughout the novel.

Recommended for readers looking for a trippy book with twists reminiscent of Liar and readers who enjoy an unsympathetic main character–whether to root for them or to watch them fail.

Possible Pairings: The Accident Season by Moïra Fowley-Doyle, Liar by Justine Larbalestier, We Were Liars by E. Lockhart, Don’t You Trust Me? by Patrice Kindl, Consent by Nancy Ohlin, This Savage Song by Victoria Schwab, The Walls Around Us by Nova Ren Suma, Wink, Poppy, Midnight by April Genevieve Tucholke, Suicide Notes from Beautiful Girls by Lynn Weingarten

*An advance copy of this title was acquired from the publisher at BEA 2016*